In the Whitney Museum’s first biennial of its new Chelsea home, one of the most controversial works is one of new media: Jordan Wolfson’s Real Violence (2017) is experienced through virtual reality headsets. Via Oculus Rift, the viewer is forced out of the museum and onto a New York street, where the artist waits with a baseball bat. Before viewers have time to accustom themselves, Wolfson swings, repeatedly wailing the bat and stomping his foot into the face of an animatronic doll—rendered lifelike through post-processing—which spouts too-human blood. Back in the museum, metal handrails help deter viewers from looking away. All of this is overlaid, through headphones, with the recitation of a Hebrew prayer.

There’s been no shortage of cynicism among critics for Real Violence, though Wolfson’s no stranger to scathing reviews—among them, Artspace’s harsh analysis of his May 2016 show at David Zwirner, written by artist Ajay Kurian, who is also present in this year’s biennial. Real Violence has been quickly dismissed for being superficial, after nothing but shock, a meritless, simulated reenactment of the kind of senseless violence experienced all too frequently by people who, unlike Wolfson and his doll, aren’t straight, male, and white.

A more forgiving reading of Real Violence, however, might take the medium into greater account, and the ways in which virtual reality in particular is capable of replicating the visceral elements that constitute “meatspace,” typically left behind by cyberspace. Such a premise might lead to the conclusion that, in a sense, Real Violence is a form of a technological sabotage directed toward a certain kind of media consumer—say, a cynical museum patron, a savvy connoisseur of images for whom real violence is a thing only experienced on TV.

Wolfson aside, the inclusion of Real Violence in the Whitney Biennial marks a milestone for the medium of virtual reality—which, despite its recent acceptance, has really been around in some form or another for decades. Over the past several years, several tech companies have competed to bring VR to the mainstream, and even artists are caught up in the hype. The Moving Image Art Fair, for example, has included VR works for a number of years since its inception in 2011, but co-founders Murat Orozobekov and Ed Winkleman told Artspace that 2017 was the year they really honed in on the medium. This year, VR works made up over a third of the show.

The proliferation of artist-made VR “experiences” (as the industry likes to call them, in distinction from flat-plane “videos”) has parallels to other wavelike interests in digital media. Net art of the early aughts is an easy comparison because of both its exploration of emerging technology and the content that appeared seemingly overnight. In fact, the history of images in general is inextricably tied to technological developments, as artists have always been drawn to tools that might unlock new modes of vision. This historical through-line extends back far beyond virtual reality and the web. Much as Post-Internet art has exemplified the acceptance of the internet as just another facet of life—rather than a technological marvel worthy of exaltation in its own right—so too has photography become just another tool available for use, and so on, all the way back to shadow-puppets thrown by firelight. The Moving Image Art Fair was held in Chelsea’s Waterfront Tunnel, a fitting venue to showcase images of transporting effect: A tunnel, after all, is little more than a manmade cave.

Though we’re in the middle of a VR phase now, eventually the novelty of it too will fade. Only then will we know to what extent projects like Real Violence, which hinge on some function that only a certain technology offers, can speak beyond their code to the social and political circumstances of a point in time. Until then, though, there’s much to sort out.

For help making sense of the role virtual reality and other new technologies play in artistic production, we turn to Wolf Lieser, the founder and director of the Digital Art Museum (DAM). After Lieser founded the DAM in 1998, it existed for its first five years as an online-only hub contextualizing then-emerging net artists within the legacy of digital art. Then, in 2003, DAM opened a gallery in Berlin dedicated to representing artists who work in digital media. Artspace’s Will Fenstermaker first met Lieser at the Moving Image Art Fair, where DAM Gallery showed a 2001 work by Casey Reas—a slow, deliberate construction of a complex pattern, modeled by a programming language developed by the artist. A few weeks later, they met again via video chat to continue their conversation on the past and future of digital art, the institutionalization of virtual reality, and the challenges of avoiding technological spectacle.

Can you begin by telling me about the birth of digital art?

Well, if you look at the beginning, there was a philosopher in Stuttgart, Max Bense, who was really influential for some of the artists who started to work digitally in the '60s. He came up with the idea that you can totally rationalize a concept of art. Sol LeWitt and people like that in the '60s also had a similar approach. They wrote a concept and then it was executed by someone else. So, if you write a program, there’s basically nothing different. You put in all the aesthetic rules and the parameters, and then it’s executed by a computer rather than a person. Conceptually, that’s very close. They share this idea that you can program art, which was very revolutionary at the time.

Of course this went very far away from this romantic idea of the 19th century artist, or the idea that you had to have some kind of emotional surprise, or some kind of vision that suddenly happens and brings about great art. Early digital art was really based on the idea that you can discover different possibilities on the computer, and then amplify them with different kinds of algorithms. So, you basically build a kind of tree of algorithms, starting with something small, which becomes bigger, or goes in different directions. All of the artists working in this field will tell you that when they use an algorithm, they are always surprised when they see the final results. If you see a software piece by Manfred Mohr, it’s incredible to think that at the beginning he’s only working with cubes, nothing else.

But it just evolves into this whole other thing.

Yeah, they get into these complex structures, and Mohr makes little things visible. Even though this is a very rational concept, you’ll still be surprised by the aesthetic impressions that it can bring about.

Manfred Mohr, P2200.6 (2014–15)

The late Harold Cohen—a pioneering artist who coded a machine called AARON to paint—talks about “the decision-making power of programs”; once you set them free, they go on to make all sorts of decisions that take the work away from where you began.

Yeah, Harold is a special example because he was trying to develop a kind of program that paints, more or less. The machine he developed produced some kind of picture, and developed them further through different variations, but they still look very painterly. His aesthetic ideas and his aesthetic perception—how a picture or a painting should look—show very well in the final result, and from my perspective, that was a limitation.

At the beginning, digital art was a really new, conceptual approach to how to produce and think about art. If you look at it now, fifty years later with virtual reality for example, you have many artists who are not working as conceptually. They are just using a tool, in the end. They are making use of the possibilities of a tool that was programmed by other people—software designers and programmers who have basically already laid the foundation for what these artists are able to do in virtual reality. So, we are now at the other end of it. The puristic approach, which I liked so much at the beginning because it was revolutionary, was this idea that art can be totally designed by a program and still be interesting.

In relation to this idea of artists working within someone else’s program, I want to bring up a 2008 interview in which you dismiss Jeff Koonsbecause of his use of Photoshop to design his paintings. You say that you can see the digital aesthetic in the end painting, and suggest that his style was actually developed by Adobe engineers. I’m curious how this idea carries over to virtual reality, at a time when there are really only a couple of ways that you can produce a VR video. To what extent do you see this kind of institutionally imposed aesthetic—if that’s an accurate way of paraphrasing you—as limiting to artists who are working here?

My background is in photography, and if you look at the history of photography you always find the same thing happens with a new medium or new possibilities. People at the beginning are totally excited about what they can do with this new medium. There’s not enough distance from the medium as such. But as soon as you overcome that and you’ve tested the technology, the more interesting work starts to develop. It was the same way with artists who were working with net art in the '90s. At the beginning, net art just involved placing something on a website that had to do with the art or what the artist wanted to communicate. But very soon, the artists hacked the program, and they became aware of the different levels available to net art. Not just the appearance or how you see it on the screen, but also about the levels behind it, the programming languages, and so on. Artists like JODI, by being aware of these levels, started to deal artistically with this medium and make it all their own. They didn’t just accept whatever the rules were, or how it appeared. They interfered with every aspect they wanted to, to get their communication across. And I think that will always happen.

So, you’re not cynical about the influx of artists who are drawn to new technologies, because eventually it gives way to something truly interesting?

Oh, absolutely not. I mean, you can see this already with virtual reality. With how some artists work aesthetically, or how they compose or build the whole thing. They are on totally different levels than others.

If what we’re currently seeing is a burgeoning interest in virtual reality among artists, what are you looking for this time around? What do you think will stick?

Of course there will be a lot produced. I’ve only started to look at this kind of work about two-and-a-half years ago, and I’ve seen quite a lot already. There are many artists who work with virtual reality to some degree, and that will only grow. But I think that once people have seen a few pieces, it will lose some of its interest.

Due to the way you experience this kind of art, you have to get totally involved. It’s very different from looking at a nice picture, or whatever. So, it will become less exciting once it has established itself, and then it will reach into a level where we might find some really great art in this respect.

DAM Gallery will show its first virtual reality exhibit this summer, right? A piece by Banz & Bowinkel.

Yes. The piece was already shown at the House for Electronic Arts in Basel, which is an institution dedicated to new media, and now it’s going to be in a show coming up at the NRW Forum in Düsseldorf in May. Banz & Bowinkel just won first prize for an award dedicated to new media and virtual reality, as well.

What they actually produced is an installation, one you walk into, with pictures, a computer, and of course the virtual reality glasses. The pictures have an augmented reality part as well. There’s also another aspect in how you can influence the daylight of the environment you’re stepping into. And then, when you enter the sphere, they have basically developed seven islands that have different environments, which you can experience by moving into. On one of the islands you can see a video of the outside, and you’re made aware that not only are you in virtual reality, but that you still maintain a connection to the real world. They purposefully confront people with all of these different aspects, so that instead of just being overwhelmed by an exciting experience, the viewer reflects on their levels of perception.

Banz & Bowinkel, installation of Mercury (2016)

This kind of conflation of space seems to be something that VR in general is very good at. You can find a lot of VR videos doing similar things in terms of transporting you from one area to another in just a step. Have you found that there are already certain things that VR is inherently good at exploring?

Well, of course there is nothing else comparable in terms of being that immersive. You can’t accomplish that level of immersion with 3D cinema, for example. There’s always an impulse to take the viewers totally out of where they are, and plant them into this kind of artificial environment. This is very tempting and very exciting, but it has a lot of dangers as well. We now have the technological ability to create an environment such that it’s not really disturbing anymore. You can get totally involved with what you’re experiencing.

Speaking of being immersed in disturbing experiences, I’m curious if you had the opportunity to see Jordan Wolfson’s Real Violence at this year’s Whitney Biennial when you were in New York, or if you’ve been following all the chatter about it. Do you think it’s an interesting application of this form of digital media, or that it holds up as art apart from its technological aspect?

I’ve just read a little about him in the biennial, but I know about his art and the discussion regarding the design of his puppets. I’m hesitant to talk about a piece I haven’t seen myself, but he seemingly is using the specific characteristics of the medium—full concentration in a secluded space to pull the viewer into a situation that they would normally like to escape. I’m not sure if it goes beyond the actual brutality of the assault. It obviously tries to get as close as possible to real reality, to have a greater effect on the viewer, in opposition to what some artists are trying to do by discovering or enabling new experiences. So far, so good.

What about large, institutional museums in general? Are they responding to virtual reality in a way that you find promising, or that shows an understanding of the promises of the medium?

As virtual reality is very much in its early stages, institutions have to accept that because it’s new, there are not many references yet. What I’ve seen so far has been interesting, but not more than that. It won’t take long until these glasses are wireless, so that you can move around, and then it will really be a great experience. And then, of course, it will open up a lot of possibilities. Then, it will become an old form of expression for artists.

It’ll just be another tool available for use.

In the end, it will be a very, very tiny aspect of contemporary art. Even after all that’s already happened, if you look at the statistics, 80 percent of the art market is still painting.

Even though “painting is dead.”

And there’s still photography and video and more established forms of new media. So, all this will be a very tiny aspect, but it will be an aspect that will grow and that will bring about some interesting challenges for the artists working with it.

Since you mentioned 3D cinema, I want to bring up something that isn’t directly related to digital art, but that I suspect might be helpful in understanding a few things. I keep thinking about Jean-Luc Godard’s most recent film, Goodbye to Language. He basically does everything you’re not supposed to do in 3D, like moving the two cameras far apart, and then too close together. He might show text in only one eye, or a totally different scene in your other eye. It makes you become incredibly aware of how your brain actually works to see, how perception itself is a kind of labor. And in that way the film acts as a sort of training ground for visual literacy. I’ve seen similar things attempted in VR, so I’m curious to what extent you’re intrigued by artists who are working with what you could call “formal” challenges that are unique to certain media.

The reason I got involved with digital arts is that I feel it is very important for artists to undertake aspects that drastically influence or change society. When artists reflect on those aspects, make people aware of them, or just play with them, it can be humanizing. It’s really important to create a distance to it, so people can become aware, as in how you describe Godard’s approach.

Here’s just an idea: You create a totally perfect, simulated environment in virtual reality, and you intersect that with something from the environment the person is actually sitting in. Just by conjoining these things together, you could break this habit that easily develops when you get overly involved in something. I think that is what art should do. It should break habits, or move into directions that you wouldn’t expect.

You’ve been through a lot of the cyclical nature of digital art, and have worked through the rise of net art, Post-Internet art, etc. What’s the purpose of distinguishing digital art now that the internet is accepted as a fundamental part of life?

If you look at the development of new technologies, we are definitely going to see more of a combination between robotic computers and organic body structures. I can’t imagine in detail what that will mean, but I’m sure we will have cyborgs. It won’t happen like we know it from the movies, where with one step we suddenly have half-human, half-machine beings. But realistically, very soon we will have something like a little implant that will help people who can’t hear that well. Then, depending on the combination of normal human life and computer-based possibilities that develop, robots will fulfill different needs to improve the lives of people. And that can go really far, I think. There are many researchers going in very different directions, like some are making little robots you can put into blood and so on. We’ll see all the negative aspects as well, because we might not be able to control them to the degree we would like to.

Every kind of digital file, or any kind of non-material art that can be communicated as digital information, could stand as an idea for our times. An idea for the way we live, how we move around, how we travel, how we can go anywhere and have still have everything accessible on our smartphones. This idea is really a major advantage of this kind of artform.

This sounds like the founding mythology of the internet—as this anarcho-libertarian ideal of a decentralized information network, right? Digital art, and in particular web art, often takes that mythology for granted.

Yes, that’s true. Now that mythology is in danger, because the internet is so dominated by large corporations. This romantic idea about the accessibility of this kind of work was wonderful, but it’s no longer a fact. Even what Google presents to you is based on what you have searched in the past, so you can’t expect to have a really neutral result.

There’s a broad field of artists who are working here. People like Constant Dullaart and other artists have reflected on this kind of mechanism several times, and brought our attention to how these corporations operate. As I mentioned before, I think it’s important that you have artists who are aware of how these things work, who research them and find an interesting way of communicating, so that other people who don’t have the knowledge to really dig in, can start to understand what’s really going on. That’s one aspect of what art can do, it can make people aware of what’s really going on.

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Closing the Auction

Upon the close of each auction Artspace shall separately confirm the highest bid to the seller and notify the buyer submitting the highest bid that the bid was successful and the amount of the buyer’s premium due to Artspace to be charged to buyer’s credit card. Artspace shall thereupon charge buyer’s credit card in the amount of the buyer’s premium.

Upon receipt of the buyer’s premium Artspace shall email both the successful buyer and seller and shall provide each with the name, address, telephone number and email address of the other; buyer and seller are thereafter solely responsible for arranging for the transmission of payment of the purchase price within 24 hours of the transmission of the Artspace email and for prompt shipment of the goods after receipt of good funds. If for any reason after Artspace’s initial confirmation of the successful bid the buyer cancels the transaction or fails to make payment to the seller, the buyer shall remain liable to Artspace for the full buyer’s premium and Artspace reserves the right to retain such buyer’s premium in addition to any other remedies it has at law or equity.

Any dispute with respect to the auction of any item shall be resolved between buyer and seller and without the participation of Artspace. Seller is solely responsible for collecting payment from the buyer. Artspace does not guaranty and is not responsible in any way for the performance of buyers or sellers participating in the auction.

Responsibilities of Auction Buyers and Sellers

Goods offered on Artspace Auctions must be tangible goods that meet the requirements of the Site. Sellers shall not offer any goods for sale or consummate any transaction initiated on Artspace Auctions that violates or could cause Artspace to violate any applicable law, statute, ordinance or regulation. Artspace shall have sole discretion as to whether a specific item meets the requirements of the Site, which determination is final.

Sellers offering goods shall post a description of the goods offered and may set a minimum reserve price, a minimum overbid amount and the termination of the auction of the goods. Sellers agree to accept the highest bid above their set reserve price and to deliver the offered goods to the buyer submitting such highest bid. Any goods offered using a seller’s registration log in information shall be deemed by Artspace and any bidding buyer as being offered or authorized by that seller. Sellers are solely responsible for the description, condition, authenticity, and quality of the goods offered. Sellers represent that they are in compliance with all applicable laws, including without limitation those regarding the transmission of technical data exported from the United States or the country in which the seller resides as well as the restrictions on import or export of goods from the seller’s country to the buyer’s country.

By posting goods on the Artspace Auctions each seller represents and warrants that he/she holds free and marketable title to the goods offered and that the sale to any buyer will be free and clear of any and all liens or encumbrances. Sellers agree that Artspace Auctions will publish images and information in English relating to the goods offered by sellers. Sellers are solely responsible for descriptions of goods and all other content provided to Artspace by seller. Each seller agrees that Artspace may reformat content submitted by sellers in order to best serve the needs and formatting of the Artspace Auctions. Sellers grant Artspace a perpetual, irrevocable, royalty-free license to use the listing information in other areas of the site in our sole discretion.

Sellers are responsible for shipment of goods to successful bidding buyers upon receipt of the purchase price. Sellers must make shipment promptly on receipt of good funds from buyers. Sellers are responsible for collecting any and all applicable taxes from the successful buyer and for remitting such taxes to the applicable taxing authority.

Buyers are responsible for determining the value, condition and authenticity of the goods. Buyers participating in the Artspace Auctions represent and warrant by placing any bid that they are ready, willing and able to pay the purchase price bid, all applicable taxes and the buyer’s premium all within 24 hours of the close of the auction if they are the successful bidder. Any bids submitted using a buyer’s registration log in information shall be deemed made or authorized by that buyer. Each buyer placing any bid represents and warrants that such bids are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state laws. Each buyer is responsible for payment of New York State and local sales tax, any applicable use tax, any federal luxury tax or any other taxes assessed on the purchase of the goods. The buyer is solely responsible for identifying and obtaining any necessary export, import, or other permit for the delivery of the goods and for determining whether the goods are subject to any export or import embargoes.

Artspace not Responsible for Auction Submissions; No Representations or Warranties

Sellers and buyers agree that Artspace is not responsible for and does not make any representations or warranties (express or implied) as to the goods offered, including without limitation as to merchantability, fitness for a particular purpose, the accuracy of the description of the goods, the physical condition, size, quality, rarity, importance, medium, provenance, whether the goods are subject to export or import restrictions or embargoes, shipment or delivery, packing or handling, the ability of the buyer to pay, the ability of the seller to collect the purchase price, or any other representation or warranty of any kind or nature. Artspace is not responsible for any errors or failures to execute bids placed online, including, without limitation, errors or failures caused by (1) loss of connection to the internet or to the online bidding software by any party, (2) a breakdown or failure of the online bidding software, or (3) a breakdown or failure of any seller’s or buyer’s internet connection or computer or (4) any errors or omissions in connection with the bidding process.

Open Positions on Careers Pages

We may list open employment positions on this web site. These postings are for informational purposes only and are subject to change without notice. You should not construe any information on this Site or made available through Site as an offer for employment. Nor should you construe anything on this web site as a promotion or solicitation for employment not authorized by the laws and regulations of your locale.

Privacy Policy; User Information

In the course of your use of the Site, you may be asked to provide certain information to us. Our use of any information you provide via the Site shall be governed by our Privacy Policy available at here artspace.com/privacy. We urge you to read our Privacy Policy. You acknowledge and agree that you are solely responsible for the accuracy and content of such information.

International Use

We control and operate the Site from our offices in the United States of America, and all information is processed within the United States. We do not represent that materials on the Site are appropriate or available for use in other locations. Persons who choose to access the Site from other locations do so on their own initiative, and are responsible for compliance with local laws, if and to the extent local laws are applicable.

You agree to comply with all applicable laws, rules and regulations in connection with your use of the Site. Without limiting the generality of the foregoing, you agree to comply with all applicable laws regarding the transmission of technical data exported from the United States or the country in which you reside.

Proprietary Rights

As between you and Artspace (or other company whose marks appear on the Site), Artspace (or the respective company) is the owner and/or authorized user of any trademark, registered trademark and/or service mark appearing on the Site, and is the copyright owner or licensee of the Content and/or information on the Site, unless otherwise indicated.

Except as otherwise provided herein, use of the Site does not grant you a license to any Content, features or materials you may access on the Site and you may not modify, rent, lease, loan, sell, distribute or create derivative works of such Content, features or materials, in whole or in part. Any commercial use of the Site is strictly prohibited, except as allowed herein or otherwise approved by us. You may not download or save a copy of any of the Content or screens for any purpose except as otherwise provided by Artspace. If you make use of the Site, other that as provided herein, in doing so you may violate copyright and other laws of the United States, other countries, as well as applicable state laws and may be subject to liability for such unauthorized use. We do not grant any license or other authorization to any user of our trademarks, registered trademarks, service marks, other copyrightable material or any other intellectual property by including them on the Site.

The information on the Site including, without limitation, all site design, text, graphics, interfaces, and the selection and arrangements is protected by law including copyright law.

Product names, logos, designs, titles, graphics, words or phrases may be protected under law as the trademarks, service marks or trade names of Artspace LLC, or other entities. Such trademarks, service marks and trade names may be registered in the United States and internationally.

Without our prior written permission, you agree not to display or use our trademarks, service marks, trade names, other copyrightable material or any other intellectual property in any manner.

Links from and to the Site

You may be able to link to third party websites ("Linked Sites") from the Site. Linked Sites are not, however, reviewed, controlled or examined by us in any way and we are not responsible for the content, availability, advertising, products, information or use of user information or other materials of any such Linked Sites, or any additional links contained therein. These links do not imply our endorsement of or association with the Linked Sites. It is your sole responsibility to comply with the appropriate terms of service of the Linked Sites as well as with any other obligation under copyright, secrecy, defamation, decency, privacy, security and export laws related to the use of such Linked Sites and any content contained thereon. In no event shall we be liable, directly or indirectly, to anyone for any loss or damage arising from or occasioned by the creation or use of the Linked Sites or the information or material accessed through these Linked Sites. You should direct any concerns to that site's administrator or Webmaster. We reserve the exclusive right, at its sole discretion, to add, change, decline or remove, without notice, any feature or link to any of the Linked Sites from the Site and/or introduce different features or links to different users.

Permission must be granted by us for any type of link to the Site. To seek our permission, you may write to us at the address below. We reserve the right, however, to deny any request or rescind any permission granted by us to link through such other type of link, and to require termination of any such link to the Site, at our discretion at any time.

INDEMNITY

You agree to defend, indemnify and hold Artspace LLC, its directors, officers, employees, agents, vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates harmless from any and all claims, liabilities, damages, costs and expenses, including reasonable attorneys' fees, in any way arising from, related to or in connection with your use of the Site, your violation of any law, your violation of the Terms or the posting or transmission of any User Content, or materials on or through the Site by you, including, but not limited to, any third party claim that any information or materials you provide infringes any third party proprietary right. You agree to cooperate as fully as reasonably required in the defense of any claim. Your indemnification obligation will survive the termination of these Terms and your use of the Site.

DISCLAIMER OF WARRANTIES

YOU UNDERSTAND AND AGREE THAT:

THE SITE, INCLUDING, WITHOUT LIMITATION, ALL CONTENT, FUNCTION, MATERIALS AND SERVICES IS PROVIDED "AS IS," WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, ANY WARRANTY FOR INFORMATION, DATA, DATA PROCESSING SERVICES OR UNINTERRUPTED ACCESS, ANY WARRANTIES CONCERNING THE AVAILABILITY, ACCURACY, COMPLETENESS, USEFULNESS, OR CONTENT OF INFORMATION, AND ANY WARRANTIES OF TITLE, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. COMPANY DOES NOT WARRANT THAT THE SITE OR THE FUNCTION, CONTENT OR SERVICES MADE AVAILABLE THEREBY WILL BE TIMELY, SECURE, UNINTERRUPTED OR ERROR FREE, OR THAT DEFECTS WILL BE CORRECTED. Artspace MAKES NO WARRANTY THAT THE SITE WILL MEET USERS' EXPECTATIONS OR REQUIREMENTS. NO ADVICE, RESULTS OR INFORMATION, OR MATERIALS WHETHER ORAL OR WRITTEN, OBTAINED BY YOU THROUGH THE SITE SHALL CREATE ANY WARRANTY NOT EXPRESSLY MADE HEREIN. IF YOU ARE DISSATISFIED WITH THE SITE, YOUR SOLE REMEDY IS TO DISCONTINUE USING THE SITE.

ANY MATERIAL DOWNLOADED OR OTHERWISE OBTAINED THROUGH THE USE OF THE SITE IS DONE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGE THAT RESULTS FROM THE DOWNLOAD OF ANY SUCH MATERIAL.

Artspace DOES NOT ENDORSE, WARRANT OR GUARANTEE ANY PRODUCTS OR SERVICES OFFERED OR PROVIDED BY OR ON BEHALF OF THIRD PARTIES ON OR THROUGH THE SITE. Artspace IS NOT A PARTY TO, AND DOES NOT MONITOR, ANY TRANSACTION BETWEEN USERS AND THIRD PARTIES WITHOUT THE DIRECT INVOLVEMENT OF COMPANY.

LIMITATION OF LIABILITY

IN NO EVENT SHALL Artspace, ITS AFFILIATES OR ANY OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, PARTNERS, SUBSIDIARIES, DIVISIONS, SUCCESSORS, SUPPLIERS, DISTRIBUTORS, AFFILIATES VENDORS, CONTRACTORS, GALLERIES, ARTISTS, INSTITUTIONS, REPRESENTATIVES OR CONTENT OR SERVICE PROVIDERS BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL, CONSEQUENTIAL, EXEMPLARY OR PUNITIVE DAMAGES ARISING FROM OR DIRECTLY OR INDIRECTLY RELATED TO THE USE OF, OR THE INABILITY TO USE, THE SITE OR THE CONTENT, MATERIALS AND FUNCTION RELATED THERETO, INCLUDING, WITHOUT LIMITATION, LOSS OF REVENUE, OR ANTICIPATED PROFITS, OR LOST BUSINESS, DATA OR SALES, OR COST OF SUBSTITUTE SERVICES, EVEN IF COMPANY OR ITS REPRESENTATIVE OR SUCH INDIVIDUAL HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY SO SOME OF THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU. IN NO EVENT SHALL THE TOTAL LIABILITY OF Artspace TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION (WHETHER IN CONTRACT OR TORT, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE OR OTHERWISE) ARISING FROM THE TERMS OR YOUR USE OF THE SITE EXCEED, IN THE AGGREGATE, $100.00. WITHOUT LIMITING THE FOREGOING, IN NO EVENT SHALL Artspace OR ITS RESPECTIVE OFFICERS DIRECTORS, EMPLOYEES, AGENTS, SUCCESSORS, SUBSIDIARIES, DIVISIONS, DISTRIBUTORS, SUPPLIERS, AFFILIATES OR THIRD PARTIES PROVIDING INFORMATION ON THIS SITE HAVE ANY LIABILITY FOR ANY DAMAGES OR LOSSES ARISING OUT OF OR OTHERWISE INCURRED IN CONNECTION WITH THE LOSS OF ANY DATA OR INFORMATION CONTAINED IN YOUR ACCOUNT OR OTHERWISE STORED BY OR ON BEHALF Artspace.

You hereby acknowledge that the preceding paragraph shall apply to all content, merchandise and services available through the Site.

Applicable Law/Jurisdiction

You agree that the laws of the state of New York, excluding its conflicts-of-law rules, shall govern these Terms. Please note that your use of the Site may be subject to other local, state, national, and international laws. You expressly agree that exclusive jurisdiction for resolving any claim or dispute with Artspace relating in any way to your use of the Site resides in the state and federal courts of New York County, New York, and you further agree and expressly consent to the exercise of personal jurisdiction in the state and federal courts of New York County. In addition, you expressly waive any right to a jury trial in any legal proceeding against Artspace its parent, subsidiaries, divisions, or affiliates or their respective officers, directors, employees, agents, or successors under or related to these Terms. Any claim or cause of action you have with respect to use of the Site must be commenced within one (1) year after the claim arises.

Consent to Processing

By providing any personal information to the Site, all users, including without limitation users in the European Union, fully understand and unambiguously consent to the collection and processing of such information in the United States.

Any inquiries concerning these Terms should be directed to us at the address below.

Risk of Loss

The items purchased from our Site are shipped by a third-party carrier pursuant to a shipment contract. As a result, risk of loss and title for such items may pass to you upon our delivery to the carrier.

Purchasing

Artspace and its partners strive for complete accuracy in description and pricing of the products on the Site. However, due to the nature of the internet, occasional glitches, service interruptions or mistakes may cause inaccuracies to appear on the Site. Artspace has the right to void any purchases that display an inaccurate price. If the displayed price is higher than the actual price, you may be refunded the overcharge. If the displayed price is less than the actual price, Artspace will void the purchase and attempt to contact you via either phone or email to inquire if you would like the item for the correct price.

You acknowledge that temporary interruptions in the availability of the Site may occur from time to time as normal events. Also, we may decide to cease making available the Site or any portion of the Site at any time and for any reason. Under no circumstances will Artspace or its suppliers be held liable for any damages due to such interruptions or lack of availability.

Notices

Notices to you may be made via either email or regular mail. The Site may also provide notices of changes to the Terms or other matters by displaying notices or links to notices to you on the Site.

Contests

In the event of a dispute regarding the identity of the person submitting the entry, the entry will be deemed to be submitted by the person in whose name the e-mail account is registered. All drawings will be conducted under the supervision of Sponsor. The decisions of the Sponsors are final and binding in all matters relating to this contest. Sponsors reserve the right, at its sole discretion, to disqualify any individual it finds, in its sole discretion, to be tampering with the entry process or the operation of the Contest or the Website located at www.artspace.com; to be in violation of the Terms of Service of the Website; to be acting in violation of these Official Rules; to be acting in a disruptive manner, or with intent to annoy, abuse, threaten or harass any other person. If for any reason this Contest is not capable of running as planned due to infection by computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other causes which, in the sole opinion of Sponsor, corrupt or affect the administration, security, fairness, integrity, or proper conduct of this Contests, Sponsor reserve the right to cancel, terminate, modify or suspend the Contest.

Limitations of Liability

SPONSOR DOES NOT ASSUME RESPONSIBILITY FOR ANY ERROR, OMISSION, INTERRUPTION, DELETION, DEFECT, DELAY IN OPERATION OR TRANSMISSION, COMMUNICATIONS LINE FAILURE, THEFT OR DESTRUCTION OR UNAUTHORIZED ACCESS TO ITS WEBSITES. SPONSOR IS NOT RESPONSIBLE FOR ANY PROBLEMS OR TECHNICAL MALFUNCTION OF ANY TELEPHONE NETWORK OR TELEPHONE LINES, COMPUTER ON-LINE SYSTEMS, SERVERS, COMPUTER EQUIPMENT, SOFTWARE, FAILURE OF ANY E-MAIL OR ENTRY TO BE RECEIVED BY SPONSOR ON ACCOUNT OF TECHNICAL PROBLEMS, HUMAN ERROR OR TRAFFIC CONGESTION ON THE INTERNET OR AT ANY WEBSITE, OR ANY COMBINATION THEREOF.
SPONSOR IS NOT RESPONSIBLE FOR ANY INCORRECT OR INACCURATE CAPTURE OF INFORMATION OR THE FAILURE TO CAPTURE SUCH INFORMATION, WHETHER CAUSED BY WEBSITE USERS, TAMPERING OR HACKING, OR BY ANY OF THE EQUIPMENT OR PROGRAMMING ASSOCIATED WITH OR UTILIZED IN THE CONTEST. SPONSOR IS NOT RESPONSIBLE FOR INJURY OR DAMAGE TO PARTICIPANTS’ OR TO ANY OTHER PERSON’S COMPUTER RELATED TO OR RESULTING FROM PARTICIPATING IN THIS CONTEST OR FROM OR USE OF THE WEBSITE.
IN NO EVENT WILL SPONSOR, OR THEIR PARENT COMPANIES, DISTRIBUTORS, AFFILIATES, SUBSIDIARIES, OFFICERS, VENDORS, AND AGENCIES, EACH OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, REPRESENTATIVES AND AGENTS, BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF YOUR PARTICIPATION IN THIS CONTEST, ACCESS TO AND USE OF THE WEBSITE OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE WEBSITE. WITHOUT LIMITING THE FOREGOING, EVERYTHING ON THE WEBSITE AND IN THIS CONTEST IS PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

Disputes

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.
In the event of a dispute as to the identity of the winner based on an e-mail address, the winning entry will be declared made by the authorized account holder of the e-mail address submitted at time of entry. “Authorized account holder is defined as the natural person who is assigned to an e-mail address by an Internet access provider, on-line service provider or other organization (e.g., business, educational, institution, etc.) that is responsible for assigning e-mail addresses for the domain associated with the submitted e-mail address

Contacting Us

To contact us with any questions or concerns in connection with this Agreement or the Site, or to provide any notice under this Agreement to us please go to Contact Us or write to us at:

General Information

The Terms constitute the entire agreement between you and Artspace and govern your use of the Site, superseding any prior agreements between you and Artspace. You also may be subject to additional terms and conditions that are applicable to certain parts of the Site.

You agree that no joint venture, partnership, employment, or agency relationship exists between Artspace and you as a result of this Agreement or your use of the Site.

Any claim or cause of action you may have with respect to Artspace or the Site must be commenced within one (1) year after the claim or cause of action arose.

Our failure to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision. If any provision of the Terms is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties' intentions as reflected in the provision, and the other provisions of the Terms remain in full force and effect.

You may not assign the Terms or any of your rights or obligations under the Terms without our express written consent.

The Terms inure to the benefit of Artspace's successors, assigns and licensees. The section titles in the Terms are for convenience only and have no legal or contractual effect.

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How it Works

How bidding works

To place a bid, enter the maximum amount you are willing to pay for the work. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

Bid Increments

Bidding increments increase at the following intervals:

Below $400: $50

Between $400 and $699: $100

Between $700 and $1,499: $200

Between $1,500 and $2,499: $300

Between $2,500 and $4,999: $500

Between $5,000 and $9,999: $1,000

Between $10,000 and $19,999: $2,000

Between $20,000 and $29,999: $3,000

Between $30,000 and $49,999: $4,000

Between $50,000 and $99,999: $5,000

Above $100,000: $10,000

You will receive an email confirmation of your bid and when you are outbid.

If you are the winning bidder, you will be contacted 48 hours after of the close of the auction.

Maximum Bidding

Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to spend for a work, though this does not necessarily mean you will pay that price. As the auction unfolds, we will increase your bid by increments to ensure you remain the highest bidder. If the winning amount is less than your maximum bid, you will pay the current increment. If your maximum bid no longer exceeds the current bid, you will receive an outbid notification email, and have the option to bid again.

In the case of multiple bidders placing the same maximum bid, the first person to place the maximum amount takes precedence as the highest bid until another bidder exceeds the maximum amount.

Buyer's Premium & Additional Charges

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. For Artspace Benefit Auctions, Buyer's Premiums are not applied. If they are, this will be clearly noted. Purchases made from all auctions, including benefit auctions, are subject to sales tax.

Check Out

Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price including commission, shipping, and taxes and duties when applicable. Promotion codes cannot be applied to auction works.

Credit Card Validation

In order to secure a bid, please enter your credit card details below.
We will not charge your card but only use it to validate your bid.
We only need to validate your card once. You will be notified that you are the winning bidder
before your card is charged, and you will have the option to change your payment method at that time.

Frame

All our frames are manufactured in the USA, using eco-friendly & sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

White Satin

Honey Pecan

Black Satin

Mat

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

Acrylic Glazing

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

Dimensions

For images up to 30" x 40"

1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.

We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

You will be redirected to Affirm to provide your information for real-time decision. Choose to pay over 3, 6, or 12 months.*

3

Enjoy your purchase immediately

Complete your purchase in Affirm and you'll be redirected to Artspace to view your order confirmation.

* Subject to credit check and approval. Down payment may be required. For purchases under $100, limited payment options are available. Estimated payment amount excludes taxes and shipping fees. Affirm loans are made by Cross River Bank, a New Jersey-chartered bank, Member FDIC. See www.affirm.com/faqs for details.